Timothy James Lewis: Building Relationships
RTG Spotlight
Timothy James Lewis discovered a love of theatre when he was in middle school and played the violin for school musicals.
“I thought maybe I could do what they are doing up on stage,” he says. His journey, from being born in the Philippines (to a military family), to attending Ball State University in Muncie, Indiana, he was drawn to theatre.
“I majored in psychology, but had a theatre minor and acted in several plays there and learned all the backstage technical skills. I am most comfortable with a hammer or power tool.”
He first experienced community theatre playing Ichabod Crane in The Legend of Sleepy Hollow in Portland, Indiana. And while he dabbled in on-stage roles occasionally, Tim found his niche in backstage help. He bounced around a bit, to Chicago, then to Lafayette, Indiana, where he was active with the Lafayette Civic Theatre, and he met and married Tricia.
Tricia’s family is from Racine, and she and Tim and children (son, Malcom, and daughter, Lyra, ages 10 and 8) moved to Racine in 2019. Tricia’s uncle is long-time volunteer Russ Blaha, who encouraged Tim to get involved with Racine Theatre Guild.
“I auditioned for Akeelah and the Bee,” Tim says, “and when I didn’t make the cast, I volunteered to help build the set. I found Indiana connections right away, because the set designer, Sarah Hunt Frank, got her degree from Ball State, and Technical Director Jane Srnick is from Valparaiso, Indiana. Everyone made me feel welcome right at the start.”
Tricia is an independent contractor with the department of vocational rehab, a good job with benefits. That allows Tim to be a “house husband,” doing the cooking, cleaning, and being a stay-at-home dad.
“This gives me the flexibility to go to the theatre many daytimes to help build sets, and also to get away in the evenings for plays. I couldn’t enjoy theatre as much as I do without the support of my wife and children.”
After helping to build the set for Akeelah and the Bee, Tim, along with everyone else, was thrown for a loop during the pandemic shut-down. It was a tough time, but Tim was so thrilled when Akeelah came back to the stage in 2022. He found himself in the backstage shop helping build the sets for every show for the 84th season, and says he has helped to build sets for every show since.
“Set building is my niche,” Tim says. “I learned building skills from my dad as a little kid, and then learned to apply what I know to theatre during my college days and after. My dad was an electrical engineer, and I must have learned much from him, so lighting design becomes second nature. I’m proud of designing lights for Cabaret, including wiring all those table lamps and footlights. I also designed lights for Seasonal Allergies. Some of the sets I’m really proud of were for Mamma Mia! and Rent. The sets for musicals are usually big and dramatic.”
Tim was seen on stage as the Inspector in Drop Dead! in 2022, and as Grimsby in the 2023 production of The Little Mermaid. He also was wardrobe chair for Stargirl and served on the playreading committee for season 86.
“It was so fun to be part of the cast for The Little Mermaid,” Tim explains. “I was not part of the cast for the previous year’s production, and nearly all the other cast members were the same. They were all so welcoming to me, to help me fit in and feel part of the cast. I was grateful to Greg Berg as music director to help me and give me encouragement. I really love the Disney movies, so being part of that musical on stage was really special.”
Tim states that volunteering with the RTG has become a big part of his life that gives him joy.
“What I love about community theatre, and definitely with the RTG, is that you get the feel of a family right away. I have made friends that I see again and again. Everyone has helped me so much to fit in and become part of contributing to the magic of theatre. I am taking on the challenge of being stage manager for Murder on the Orient Express. It’s my first time in the booth here, but I’ve stage managed at other theatres. It’s a big job, and this show has the challenge of being produced in the tight space of the train on stage. Lighting will be very important. Above all, I am thankful to have the RTG with Doug and all the wonderful volunteers, to make me feel like this is a great place to be and to contribute.”
We hope Tim will continue to share his skills at the RTG and keep Murder on the Orient Express on track!